Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Tuvalu and from Philadelphia.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1962 to 1979.
I'm losing my edge.
To all the kids in Lagos and Manila.
I'm losing my edge to the art-school Accra kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the mellotron sounds with much patience.
I was there when Holger Czukay started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Flash Fearless to the crunk kids.
I played it at the Hacienda.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Interpol. All the underground hits.
All Fort Wilson Riot tracks. I heard you have a vinyl of every PIL record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Jeff Mills record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DNA,
Sound Behaviour,
Section 25,
Bootsy's Rubber Band,
The Toasters,
Mad Mike,
Pole,
Theoretical Girls,
EPMD,
The Divine Comedy,
Derrick Morgan,
Eric Dolphy,
Juan Atkins,
Mr. Review,
Sex Pistols,
Funky Four + One,
Con Funk Shun,
Lou Christie,
The Alarm Clocks,
Crime,
Malaria!,
the Normal,
Slave,
Scott Walker,
R.M.O.,
Idris Muhammad,
China Crisis,
Lou Reed,
Delon & Dalcan,
Soft Cell,
Darondo,
Jerry Gold Smith,
The Evens,
the Bar-Kays,
The Detroit Cobras,
Audionom,
Simply Red,
Spoonie Gee,
Matthew Bourne,
Smog,
Soul Sonic Force,
Lyres,
The Dead C,
Panda Bear,
Liliput,
The Durutti Column,
Sister Nancy,
The Neon Judgement,
Girls At Our Best!,
Terry Callier,
Major Organ And The Adding Machine,
Desert Stars,
Zero Boys,
Rhythim Is Rhythim,
Andrew Ashong & Theo Parrish,
Rhythm & Sound,
Trumans Water,
Selector Dub Narcotic,
Negative Approach,
Dead Boys,
H. Thieme,
Magma, Magma, Magma, Magma.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.